Season 3 of Cade & Kit: Stories That Stick continues with a new theme — Good vs. Evil. Kit kicked things off with an ambitious pick: Quentin Tarantino’s Kill Bill saga. Or as Cade calls it, “two movies disguised as one.” Kit, on the other hand, insists they’re inseparable halves of a single cinematic journey — one that follows a mother’s quest for revenge, redemption, and the reclamation of her child.
This double feature sparks their biggest debate yet: is Kill Bill one story split in two, or two stories chasing the same moral question? Either way, it’s blood-soaked, beautifully choreographed, and surprisingly emotional.
Kit argues that true “good” is found in the instinct to protect — and for her, Kill Bill is a story about a mother’s drive to do exactly that. The Bride (Uma Thurman) is left for dead after being ambushed at her wedding rehearsal by her former team of assassins, the Deadly Viper Assassination Squad. Shot in the head, she wakes from a coma years later and sets off on a mission to hunt them all down — a mission that evolves from vengeance into reclamation once she learns her daughter is alive.
Cade, meanwhile, is skeptical. “You made me watch both movies,” he laughs. “I’m still waiting for the good to show up.” But as Kit points out, Volume 1 is the fight — Volume 2 is the heart.
Kit’s admiration for Kill Bill goes far beyond its cult following. She loves its fusion of genre and tone — a blend of samurai film, noir, anime, and grindhouse pulp. She praises Tarantino’s “use of practical effects, long fight sequences, and music cues that feel like inside jokes for cinephiles.” From the anime flashback of O-Ren Ishii’s childhood revenge to the snow-drenched duel between The Bride and the Crazy 88, Kit calls it “a masterclass in rhythm — both musical and violent.”
Cade admits that Volume 2 delivers more on that theme. He highlights Bill’s “Clark Kent monologue” — a quiet scene where David Carradine philosophizes about the nature of identity. Superman’s disguise, he explains, isn’t the cape — it’s Clark Kent himself, a caricature of weakness and normalcy. Bill uses it to justify his worldview: “You’re not pretending to be a killer, you’re pretending to be human.” Cade calls it one of the best-written moments in the film, even if “it’s buried under a mountain of blood and sword fights.”
For Cade, it’s not that the movie is bad — it’s that it’s a lot. Two volumes, four hours, dozens of stylized deaths, and more “wiggling toes” than he bargained for. “It’s everything Kit loves jammed into one movie,” he jokes, “which is exactly why it’s not for me.”He also points out how Volume 1, while visually stunning, feels disconnected from the emotional weight that lands later. “Volume 2 has the theme. Volume 1 is just chaos.” Kit laughs in agreement but insists that chaos is necessary context. “You need the carnage to understand what she’s fighting for.”
Kit rated Kill Bill (Volumes 1 & 2) an 8.5/10 — calling it “a near-perfect blend of violence, vulnerability, and vision.” It’s one of her personal top five films of all time. Cade, however, wasn’t convinced. “I’m not a Tarantino fan,” he confessed. “It’s too self-indulgent for me. And I lost points for having to watch two movies.” His final score: 3.5/10.
Still, even he acknowledged the film’s cultural weight — from the yellow tracksuit to the unforgettable showdown with the Crazy 88. “It’s iconic,” he said, “just not for me.”
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